Scan 61
Baker S Biographical Dictionary Of Musicians, 1900
21 lines. Read by computer on 18 September 2026, twice; the two readings disagreed in places. No printed page number was found. See the scan on archive.org.
1APRILE — ARANYI
3from this collection had been published by Attaingnant in 1529 without being ascribed to Appenzeller); a lament on the death of Josquin (1521) which uses half of the Musae Jovis text; and a double-canon on Sancta Maria embroidered on a tablecloth for Mary of Hungary (1548). Pieces by him are included in the second Musyckboexken of Susato; the Hortus Musarum, part I (1552), published by Phalese, contains a transcription for two lutes of a piece by him. Bibl.: E. van der Straeten, La Musique aux Pays-Bas (Brussels, 1867-8; volumes 3, 7, and 8); D. Bartha, Benedictus Ducis und Appenzeller (Wolfenbüttel, 1930); G. Reese, Music in the Renaissance (N. Y., 1954). one of two readings
4from this collection had been published by Attaignant in 1529 without being ascribed to Appenzeller); a lament on the death of Josquin (1521) which uses half of the Musae Jovis text; and a double-canon on Sancta Maria embroidered on a tablecloth for Mary of Hungary (1548). Pieces by him are included in the second Musyckboexken of Susato; the Hortus Musarum, part I (1552), published by Phalesc, contains a transcription for two lutes of a piece by him. Bibl.: E. van der Straeten, La Musique aux Pays-Bas (Brussels, 1867-8; volumes 3, 7, and 8); D. Bartha, Benedictus Ducis und Appenzeller (Wolfenbüttel, 1930); G. Reese, Music in the Renaissance (N. Y., 1954). one of two readings
6Aprile, Giuseppe, Italian male contralto; b. Martinafranca, Apulia, Oct. 28, 1731; d. there, Jan. 11, 1813. From c. 1763 he sang at the principal theaters of Italy and Germany; then settled in Naples as teacher; among his pupils was Cimarosa. Aprile's vocal treatise, The Modern Italian Method of Singing, with 36 Solfeggi, first published by Broderip in London (1791), has been reprinted in many editions and several languages.
8Apthorp, William Foster, American music critic; b. Boston, Mass., Oct. 24, 1848; d. Vevey, Switzerland, Feb. 19, 1913. A graduate of Harvard Univ. (1869), he studied music with Paine. He taught music at the New England Cons. and lectured on music history at Boston Univ. He wrote music criticism for the 'Atlantic Monthly' (1872-77); was music and drama critic on the 'Boston Evening Transcript' (1881-1903). In his criticisms Apthorp violently opposed new Russian, French and German music (his intemperate attacks on Tchaikovsky elicited protests from his readers). Apthorp was also the annotator of the Boston Symph. programs (1892-1901). He published several books: Musicians and Music Lovers (N. Y., 1894); By the Way, a collection of short essays in 2 vols.: I. About Music, II. About Musicians (Boston, 1898); The Opera, Past and Present (N. Y., 1901). He was co-editor of Scribner's 'Cyclopedia of Music and Musicians' (N. Y., 1888-90).
10Aptommas. See Thomas, John.
12Ara, Ugo, Italian violinist; member of the Flonzaley Quartet; b. Venice, July 19, 1876; d. Lausanne, Switzerland, Dec. 10, 1936. He studied violin with Tirindelli in Venice; at the age of 13 played in theater orchs. In 1894 he went to Liège where he studied with César Thomson; he then took lessons in composition with R. Fuchs at the Vienna Cons. When the Flonzaley Quartet was established, he joined it as a viola player, (1903-17). He later returned to Italy.
14Araja (ăh-ri'-ăh), Francesco, Italian composer; b. Naples, c. 1700; d. c. 1770. He produced his first opera Lo matremmonejo pe' mennetta in the Neapolitan dialect (Naples, 1729); his subsequent operas were Berenice (Florence, 1730); La forza dell'amore e dell' odio (Milan, 1734); Lucio Vero (Venice, Jan. 4, 1735). In 1735 he was engaged as musical director and court composer in St. Petersburg. There he wrote annual pieces for court occasions, beginning with the cantata La gara dell'amore e del zelo (April 28, 1736). Among his operas given at the Russian court were La Semiramis riconosciuta (Feb. 9, 1737); Artaserse (1738); Seleuco (1744); Scipione (1745); Mitridate (1747); L'asilo della pace (1748); Bellerofonte (1750); Eudossa incoronata (1751). He wrote 22 operas; La Clemenza di Tito, attributed to him by some, was the work of Hassc. On Feb. 27, 1755, Araja presented in St. Petersburg the first opera ever composed to a Russian text, Céphale et Procris (libretto by the famous Russian dramatist Sumarokov). He was in Italy in 1741-42 and 1759-61; in 1762 he revisited Russia briefly at the summons of Peter III, his great admirer, returning to Italy after the Czar's death. Nothing is known of Araja's last years. Bibl.: A. Mooser, Annales de la musique et des musiciens en Russie au XVIII siècle, vol. I, pp. 121-131 (Geneva, 1951).
16Arakishvili (ăh-răh-kĕ-shvĕ'-lĕ), Dmitri, Russian composer; b. Vladikavkaz, Georgia, Feb. 23, 1873; d. Tiflis, Aug. 13, 1953. He studied composition at the Moscow Philharmonic Institute, graduating in 1901. He lived mostly in the Caucasus; compiled native songs for the Musical Ethnographic Committee of Moscow Univ. (1901-08). From 1917 on, he was prof. of music at the Tiflis Cons. He composed The Legend of Shota Rustaveli (first national opera of Georgia, performed in Tiflis, 1919); 3 symphonies; symph. poem Hymn to the New East (1933); many choral works and arrangements of native songs.
18d'Aranyi, Adila. See Fachiri, Adila.
20Aranyi, Francis, violinist; b. Budapest, March 21, 1893. He studied at the Royal Academy in Budapest, and later in Berlin with Willy Hess and Henri Marteau. He was a concert player and orchestral violinist in Europe: in Vienna (1912-14), in Budapest (1914-17); later in Stockholm (1921-
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